{"id":8366,"date":"2020-09-10T15:32:33","date_gmt":"2020-09-10T12:32:33","guid":{"rendered":"https:\/\/www.draamateater.ee\/?p=8366"},"modified":"2020-09-10T15:33:57","modified_gmt":"2020-09-10T12:33:57","slug":"ei-muusikat-ei-muinaslugu","status":"publish","type":"post","link":"https:\/\/www.draamateater.ee\/en\/meedia\/ei-muusikat-ei-muinaslugu\/","title":{"rendered":"Ei muusikat, ei muinaslugu"},"content":{"rendered":"\n

Veiko M\u00e4rka, Eesti P\u00e4evaleht, 18.06.2014<\/em><\/p>\n\n\n\n

\u201eLaul, mis j\u00e4\u00e4b” peategelast saab hea tahtmise korral v\u00f5rrelda Leo Saalepi ja Saalomon Vesipruuliga.<\/strong><\/p>\n\n\n\n

P\u00e4rast Noorsooteatri \u201eValge tee kutset” (1985), Mati P\u00f5ldre m\u00e4ngufilmi \u201eNeed vanad armastuskirjad” (1992) ja Tartu Uue Teatri \u201eAutori surma” (2013) oli kindel: Raimond Valgrest v\u00f5ib veel n\u00e4idendi kirjutada kas geenius v\u00f5i ps\u00fchhopaat. Draamateatri versioon j\u00e4\u00e4b m\u00f5lemast paraku nii kaugele kui v\u00f5imalik. See on osalt v\u00e4ikekodanlikult sentimentaalne, osalt \u00fclespuhutult pompoosne, p\u00f5hiliselt aga trafaretselt hall. Hea ja \u00f5ilis Raimond kannatab ja sureb, \u201es\u00e4\u00e4rased libedikud” aga elavad muretult edasi. \u201eMa loodan, et saan sellest \u00fcle \u2026” laulab Raimond. \u201eEi sa saa, ei sa saa!” teab vaataja.
\u201eLaul, mis j\u00e4\u00e4b” esimene tuntav n\u00f5rkus on autorite suur arv. Mitu kokka rikuvad ikka supi \u00e4ra ning isegi autot on parem juhtida \u00fcksi kui neljakesi. Shakespeare, T\u0161ehhov ja Tammsaare kirjutasid oma n\u00e4idendeid \u00fcksi mitte sellep\u00e4rast, et nad oleksid eriti eraklikud v\u00f5i egoistlikud olnud. Neil oli konkreetne isikup\u00e4rane s\u00f5num, oma n\u00e4gemus, oma filosoofia, oma tahe.
Kui kolme \u201eeeskujuga” v\u00f5rrelda, siis sarnaneb \u201eLaul\u2026” k\u00f5ige rohkem \u201earmastuskirjadega”. Ei ole selles \u201eValge tee kutse” hoogu, reipust ja m\u00e4ngulisust, ei ole ka \u201eAutori surma” m\u00f5tte- ja vaimuparadokse. See omakorda t\u00e4hendab kahte suurt puudust. Esiteks on teater paratamatult filmist tinglikum, v\u00e4heusutavam ja narratiivi esitajana kohmakam. Teiseks: film on ju tehtud, iga\u00fcks v\u00f5ib seda vaadata. Mis seda ikka tagantj\u00e4rele torkida.<\/p>\n\n\n\n

Dramaturgiline t\u00fchjus
Eriti kentsakalt m\u00f5jus, et m\u00f5ned n\u00e4itlejad astusid lavale otsekui oma \u201eWabadusristi” karakterite kloonid. (Viimane n\u00e4idend k\u00e4sitleb ju sama ajastut nagu \u201eLaulu \u2026” esimene vaatus.) Nii Ain Lutsepa Konstantin P\u00e4ts kui ka Tiit Suka Artur Sirk olid muljetavaldavad reinkarnatsioonid. S\u00e4\u00e4rase sujuva \u00fclemineku mitte ainult v\u00f5imalikkus, vaid isegi loomulikkus on parim t\u00f5estus \u201eLaulu \u2026” dramaturgilisest t\u00fchjusest. K\u00f5ik, mis Valgrega tema elu viimasel k\u00fcmnendil juhtus, on \u00fcksikasjalikult teada juba alates Mati P\u00f5ldre dokfilmist \u201eIgavesti Teie” (1976). Seet\u00f5ttu puudub igasugune v\u00f5imalus vaatajat \u00fcllatada, seega ka teda kaasa elama panna. N\u00e4idendi tekst on enamjaolt v\u00f5lts, maneerlik. Ometi v\u00f5imaldaks realistlik l\u00e4henemine Valgre teemale esile tuua v\u00e4hemalt \u00fche seni ammendamata probleemi: kui palju olid tema varajases surmas s\u00fc\u00fcdi isikuomadused, kui palju poliitilised muudatused. L\u00f5ppude l\u00f5puks suri loovisikuid noorelt ka EW ajal (Hando Mugasto, Evald Aav, Hilda Gleser) \u2013 ja enamasti just kopsuhaigustesse nagu Valgregi. N\u00e4idend j\u00e4tab pigem mulje, et p\u00f5hilise p\u00f5ntsu pani heliloojale ikka n\u00f5ukogude v\u00f5im. Seda aga ei p\u00f5hjendata ega anal\u00fc\u00fcsita. \u00d5nneks on peaosalist kehastav M\u00e4rt Avandi s\u00fcgava sisemise intelligentsi ja taktitundega n\u00e4itleja, mist\u00f5ttu ta eriti esiplaanile ei tikkunud. Ja kuna laval seisis v\u00f5i istus pidevalt terve trobikond statiste, l\u00e4ks see tal ka eeskujulikult korda. \u00dctles malbelt oma j\u00e4rjekordse pidetu fraasi \u00e4ra (\u201eMa arvasin, et te olete Judy Garland”) ja hoidus taas varju. Oleks ju \u00fcsna tobe Sulev Luike v\u00f5i Rain Simmulit parodeerida (mis p\u00f5him\u00f5tteliselt oleks v\u00f5inud t\u00fckki oluliselt elustada), kui materjal seda ei v\u00f5imalda.
K\u00fcll t\u00f5usis esile Harriet Toompere Alice’i\/Niinana. Toompere aga lihtsalt ongi nii hea n\u00e4itleja \u2013 evides pealegi naisn\u00e4itleja kohta haruldast v\u00f5imet vanemaks saades \u00fcha paremaks minna. Nii et tema oleks end ilmselt ka Valgre akordionit m\u00e4ngides maksma pannud. Samas oli nende kahe olulise rolli andmine \u00fchele n\u00e4itlejale t\u00f5sine aps, sest nii kadus nende vahelt igasugune m\u00f5tteline pinge ja kontrast.<\/p>\n\n\n\n

\u00dcdini tuttav muusika
Senin\u00e4htust rohkem keskendus n\u00e4idend poja ja ema (Laine M\u00e4gi) ebatavaliselt \u00f5rnale suhtele, mille kallal Raimond Valgre s\u00f5brad n\u00e4idendis ohtralt, kuid s\u00e4ratult kildu viskavad. T\u00f6\u00f6pataljonis n\u00e4lgiva Raimondi \u00f5hkamised ema pannkookide j\u00e4rele j\u00e4\u00e4vad Eesti teatri halemeelsuse voo kullafondi.
N\u00e4idendi muusika on selle n\u00f5rgim k\u00fclg ette teada s\u00fc\u017eee k\u00f5rval. Nimelt on kogu Valgre muusikaline p\u00e4rand igale teatrihuvilisele \u00fcdini tuttav ja igagugune loovus selles vallas eos v\u00e4listatud. Enamasti k\u00f5lab see ka virtuooslikumas interpretatsioonis kui Draamateatri suurel laval. Uut Louis Armstrongi v\u00f5i Ella Fitzgeraldi (kelle esituses oleks Valgret t\u00f5esti huvitav kuulata) seal ei s\u00fcndinud.
Kokkuv\u00f5ttes on \u201eLaul, mis j\u00e4\u00e4b” j\u00e4rjekordne \u201epiinatud geeniuse” versioon, nagu neid Jeesus Kristuse aegadest lugematuid kordi etendatud on. Meie kultuurip\u00e4randist meenuvad eelk\u00f5ige Leo Saalep ja Saalomon Vesipruul. Hea tahtmise korral v\u00f5ib \u201eLaul, mis j\u00e4\u00e4b” peategelast m\u00f5lemaga v\u00f5rrelda.<\/p>\n","protected":false},"excerpt":{"rendered":"

Veiko M\u00e4rka, Eesti P\u00e4evaleht, 18.06.2014 \u201eLaul, mis j\u00e4\u00e4b” peategelast saab hea tahtmise korral v\u00f5rrelda Leo Saalepi ja Saalomon Vesipruuliga. P\u00e4rast Noorsooteatri \u201eValge tee kutset” (1985), Mati P\u00f5ldre m\u00e4ngufilmi \u201eNeed vanad armastuskirjad” (1992) ja Tartu Uue Teatri \u201eAutori surma” (2013) oli kindel: Raimond Valgrest v\u00f5ib veel n\u00e4idendi kirjutada kas geenius v\u00f5i ps\u00fchhopaat. Draamateatri versioon j\u00e4\u00e4b m\u00f5lemast […]<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[18],"tags":[83,210,211,182],"class_list":["post-8366","post","type-post","status-publish","format-standard","hentry","category-meedia","tag-draamateater","tag-laul-mis-jaab","tag-merle-karusoo","tag-veiko-marka"],"acf":[],"yoast_head":"\nEi muusikat, ei muinaslugu - Draamateater<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.draamateater.ee\/en\/meedia\/ei-muusikat-ei-muinaslugu\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ei muusikat, ei muinaslugu - Draamateater\" \/>\n<meta property=\"og:description\" content=\"Veiko M\u00e4rka, Eesti P\u00e4evaleht, 18.06.2014 \u201eLaul, mis j\u00e4\u00e4b” peategelast saab hea tahtmise korral v\u00f5rrelda Leo Saalepi ja Saalomon Vesipruuliga. 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